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The Significance of the Renaissance in Poland According to Tourists’ Opinions on Tripadvisor Concerning Three Major Renaissance Landmarks

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The Significance of the Renaissance in Poland According to Tourists’ Opinions on Tripadvisor Concerning Three Major Renaissance Landmarks Studia Periegetica no. 2(30)/2020 DOI: 10.5604/01.3001.0014.3168 AGNIESZKA NIEZGODA*, IZABELA WYSZOWSKA** The significance of the Renaissance in Poland according to tourists’ opinions on TripAdvisor concerning three major Renaissance landmarks Abstract. The purpose of the study was to analyze the role of the Renaissance in Poland and the way it is reflected in tourists’ reviews. The authors focused in particular on tourists’ aware- ness concerning the importance of three major Renaissance landmarks located in three Polish cities, namely the Wawel Royal Castle in Cracow, the Town Hall in Poznań and the Old Town in Zamość. Methods used in the empirical part include an analysis of reviews posted on the Trip- Advisor website by Polish tourists who have visited these sites, taking into account the histori- cal conditions underlying the development of the Renaissance in Poland and its characteristic features. The authors used thedesk research method. The pilot study described in the article is an introduction to further, in-depth qualitative research. The results indicate that only 10% of all tourists’ reviews referred to the Renaissance character of the sites. The reviews indicate that most tourists lack a solid knowledge of history and architecture, and were most likely not inspired to visit the analyzed sites because of their links to the Renaissance. No reviews were found demon- strating any personal background in history or suggesting that the Renaissance was the reason for visiting these particular sites. So far, references to the Renaissance in tourists’ reviews of Polish landmarks have not been discussed in the literature. The article can, therefore, be regarded as a first contribution to the study of this issue. Keywords: Renaissance, travel motivations, tourist reviews, TripAdvisor JEL Codes: Z32, Z11, J26 ** Poznań University of Economics and Business (Poland), Department of International Eco- nomics, Email: [email protected], orcid.org/0000-0002-2456-1633. ** Poznan University of Physical Education (Poland), Department of Tourism and Recreation, Email: [email protected], orcid.org/0000-0002-6399-1521. 46 Agnieszka Niezgoda, Izabela Wyszowska 1. Introduction The early modern period introduced a series of interesting artistic styles, includ- ing the Renaissance, Mannerism, Baroque, Rococo, and Classicism – all of which drew inspiration from the achievements of past periods, including the Antiquity and Middle Ages, and creatively used them for their own purposes. The herit- age of any historical period includes relics of both material and spiritual culture. The former include architectural landmarks, which very often become tourist -at tractions. One artistic style that made a particular impact on the image of towns is the Renaissance. It arrived in Poland in the early 16th century as an already established and mature style, and continued to develop for the next 150 years. King Sigismund I (1467-1548) from the Jagiellonian dynasty was its great ad- vocate and promoter. The new style was disseminated in Poland by Italian art- ists brought to the royal court in Kraków by the wife of king Sigismund I, Italian duchess Bona Sforza, and their son, Sigismund II Augustus. It is also notewor- thy that the 16th century is referred to as “the Golden Age of the Polish culture” and that the distinctive architectural masterpieces of the Polish Renaissance are important contributions to the European Renaissance heritage. Currently, as tourist attractions, they can be an inspiration to visit a certain place. Following the hypothesis concerning the importance of individualization and an increase in education levels among modern consumers [Reich, Pechlaner, Hoelzl 2006; Niezgoda 2013b, 2017], the authors pose the following question: how interested are Polish tourists in Renaissance architecture in Poland and what do they know about it? The purpose of this article is to analyze the role of the Renaissance in Poland and the way it is reflected in tourists’ reviews. The emphasis is placed on tourists’ awareness concerning the importance of three major landmarks located in three Polish cities, namely: the Wawel Royal Castle in Cracow, the Town Hall in Poznań and the Old Town in Zamość. The sites were selected because of their special significance in the development of Renaissance art in Poland. 2. Features and development of the Renaissance in Poland The Renaissance spread throughout Europe in the 16th century and became a great artistic, philosophical, and religious movement. It had arisen one hundred years earlier and made direct references to the achievements of Roman and Greek Antiquity. Italian humanists followed the principle of Homo sum, humani nihil a me alienum esse puto – so the man became the center of their attention, along The significance of the Renaissance in Poland according to tourists’ opinions… 47 with earthly life and all its beauties. This entailed a weakening of the Catholic Church’s role, and therefore challenged the medieval concepts of theocentricism and universalism. In the previous era, clergymen were in charge of art and its canon. In the Renaissance, individualism took the front stage, supported by the ancient institution of patronage. The Reformation, initiated by Martin Luther in 1517, brought about new re- ligious doctrines and new denominations, which gained many followers among the upper classes. This led to a decrease in the number of new Catholic church- es in Poland. The one exception is the collegiate church in Zamość, which was the only entirely new temple built during the “Golden Age” in the 16th century [Rożek 2015]. In most cases, old Gothic churches were renovated or their interi- ors adapted to the new style. On the other hand, the number of secular and private works of art increased, including stylish estates, villas, and palaces, as well as portraits and gravestones. In the category of religious buildings, private funerary chapels – which com- memorated and glorified magnates, noble families, or church officials – became particularly popular. The Renaissance arrived in Poland – at the capital, Cracow – in the early 16th century, but its initial impact was limited to the royal court and aristocra- cy. The provincial part of the country remained under a heavy influence of the Gothic art for many more years. However, the new style quickly gained popu- larity and blended in with the local tradition. Pointed arches were replaced by classic Roman arches; lierne, cross-ribbed, and diamond vaults were abandoned and replaced by coffered ceilings; and the dome was back in style. Facades and courtyards were decorated with loggias and galleries. Attics were a characteristic feature popular in this period. These decorative walls adorning the topmost part of the facade were found on palaces, manors, townhouses, and town halls, and are strongly associated with the Polish Renaissance. Renaissance works of art were generously embellished with ornaments inspired by ancient art (astragal, pearl, palmette, arabesque, mauresque etc.). Under the influence of the Dutch Renais- sance, elements such as scrolls, panoplies, herms and putti also gained popularity. In the Polish Renaissance architecture, three major periods can be distin- guished1 [Kozakiewicz, Kozakiewicz 1976; Orzechowska-Kowalska 2003; Rożek 2015]: – 1500-1550 – the rule of Sigismund I the Old, strong Italian influences (mainly Florence), with Gothic elements blended with the Renaissance; – 1550-1580 – the period of the patronage of Sigismund II Augustus and Anna Jagiellon; the style becomes more popular in Poland and is adapted to the 1 In Kozakiewicz, Kozakiewicz [1976]: 1500-1545 (early period), 1545-1575 (the style settles), 1575-1640 (bloom and slow demise). 48 Agnieszka Niezgoda, Izabela Wyszowska local needs thanks to Italian artists brought to Poland from the Italian-Swiss bor- derland; attics become widespread and increase in grandeur; – 1580-1640 – the period of the first elected kings, the emergence of Man- nerist forms under the influence of the Dutch Renaissance (Gdańsk), as well as elements foreshadowing the next style to come – the Baroque. Among many diverse buildings of the Polish Renaissance, two types of secu- lar constructions prevail: manors and bourgeois townhouses. They were often constructed on the basis of existing Gothic buildings or built from scratch. 3. The Wawel Royal Castle, the Poznań Town Hall, and the Old Town in Zamość – prime examples of Renaissance architecture in Poland When the Gothic castle in the Wawel Hill became the residence of the next king from the Jagiellonian dynasty, Sigismund I the Old, a patron well-aware of the new artistic trends, it underwent massive refurbishment as early as the first half of the 16th century, which made it the greatest Renaissance palace in this part of Eu- rope. Under the rule of king Alexander (1501-1506), the extension of the west- ern wing was started, which was meant to be the residence of the king’s mother, Elizabeth of Austria. Sigismund I, like his brothers, was educated in the spirit of humanism by an Italian teacher, Filippo Buonaccorsi, called Callimachus. He lat- er stayed at the court of his brother Vladislaus in Hungary, but came into contact with Renaissance art even earlier, at the time of the rule of Matthias Corvinus, the previous king of Hungary. When he assumed the Polish throne, he continued the work, which was completed in 1535. His patronage set new examples in Pol- ish art. Beyond any doubt, this was also due to his marriage to an Italian duchess from the great house of Sforza, famous for its patronage over artists. The residence for the royal couple in Wawel owes its shape to architects brought to Poland by the king from Florence: Francesco Fiorentino, and Bartolo- meo Berrecci, as well as Benedykt Sandomierzanin [Przybyszewski 1948; Rataj- czak 2011]. The work of art created under their supervision over 30 years com- bined elements of Gothic and Renaissance art. The real novelty of the castle were the distinctive galleries surrounding the courtyard, heavily ornamented with polichrome, which were both functional and decorative (Fig.
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